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The Secret Setup For Perfect Product Photography

Last Updated on November 1, 2020 by Devaun Lennox

In today’s video I’m gonna take you behind the scenes for an exclusive product photography photo shoot


Alright so here we are we’re in a different section of my living room / dining room area my kitchens back over there guys are all up in my space right now but suffice to say this is our setup I’m gonna kind of explain and walk you guys through the actual setup that we have here on set right now so we are using the primary red savage Universal seamless paper right here we’re shooting that handbag that you guys can see right over there we do have some sunglasses and some some flowers just kind of make it colorful but because that’s a big part of my style so

our handbag and our prop is roughly about two feet away from the backdrop and it’s approximately about four and a half five feet away from the head of our our policy buff Einstein light right here so as far as the light itself so we’re using AC stand from policy buff the main reason why I’m using a c-stand compared to using a traditional tripod or a light stand is because if I did that the light stand would be right here because i want the light centered i don’t want any shadows for the shoot the shot right here so i’m putting on a c-stand so i could push the light over a little bit and then have the light still come over the top and it still be centered so we are using an Einstein 640 watch strobe and we’re using an impact 48 inch octa box right here as well it does have both layers of diffusion we have the middle layer right here and then we have

this exterior layer that you guys may not be able to see in the video right here as well so it’s dual layer diffusion we’re using both the internal and external baffles so that’s kind of lighting setup now I do want to say this is on the dining table I don’t want this to be completely on the ground because I mean I have to lie down to shoot so I’m putting it on the dining table to basically elevate this set up so that I don’t have to I don’t have to literally lie down to get nice and parallel to our subject which is going to be that handbag over there and that’s gonna be our basic like our set today a one light set up this doesn’t have to be super complicated anything super crazy it’s very very straightforward just one light we could do this with multitude of different lights but don’t really have that much a gear so we’re just gonna do a one light setup here

and then move on to the next section cool so I’m gonna be kind of crouching down so I do want to say like as I’m shooting here okay so the reason why I’m crouching down this much and is because I want to be completely parable parallel to the our handbag so you guys will notice or you may or may not be able to notice but I’m my my lens is actually directly in alignment with the there’s like this kind of gold gold I don’t know it’s part of like a latch system but it’s basically how that bag opens up from the front so my lens is completely parallel to that and I’m making sure that it it doesn’t there’s no weird angle or distortion like this because I shot like this they’re part of the bag would be bigger if I shot like this part of the bag would be smaller so I’m making sure I’m in direct alignment with the bag so that it there’s there’s no distortion

caused from me changing the angle of my camera so since I’m down here as well let me explain my camera settings and more specifically the light settings on what we’re using right now so I am using the Sony a7 Mark one I’m too broke to afford the a7 arm or the a7 three either those cameras are too out of our budget but suffice to say I’m using the a7 mark one I do have the Sigma MC 11 adapter here which mounts amount to EF lenses and I’m using the canon EF 100 millimeter macro which is a 2.8 lens and i’m shooting it at f11 shutter speed is one one

sixtieth iso 200 and the reason why i’m shooting at f11 as opposed to 1.4 eyeball this lens isn’t go to one put poor but 2.8 or f/4 5.6 f-22 the reason why I’m shooting at f11 is because for this particular lens that’s in the sweet spot of worse the sharpest but also I’m doing that so this lens is unfortunately manually focused only when I use this particular adapter so I have to use manual focus and I’m using focus peaking so I can kind of see where I’m focusing but suffice to say I want to make sure have enough depth of field and not only that since I’m also shooting

products like this to be a sharp the sharpest that this lens could provide which is gonna be in the middle of its range so that’s why I’m shooting at f11 anything between like F maybe seven point one two F twelve fourteen ish should be great any of those in in for any of the lenses that you guys are using are gonna be great places to shoot this so you have these sharpness images for the light that we’re using here again we’re using the Einstein 640 Paul C buff strobe we have it set to you about roughly 70 watt seconds which is one eighth of its power again I will

show you guys the satellite diagram that has more specific details on the measurement and the exact settings that we’re using just in case I have some kind of mistake or you know as we’re filming that I missed something here you guys will have all the exact measurements the height all that stuff I will measure all the stuff and put it as a render which you guys are starting to see right now so you guys can see the actual diagram of how we’re shooting this but those are my camera settings and the reason why this is I guess one one eighth power as opposed

to a hundred percent I want just enough the light to spread out to the background I don’t want it to be too bright where it starts to desaturate the colors that are here but at the same time I do want it to have enough light so it’s it’s not Moody I want it to be kind of even and then also I do adjust the power of the light so I can get the f-stop where the aperture that I’m shooting on my camera so and then get the proper exposure so that it’s roughly at 0.5 maybe one a little bit overexposed and I can bring it down in post so those are our camera settings and our light settings more specifically the next thing we’re gonna talk about is really going to be more of the mood and the vibe and the concept as to why we chose to kind of use this color scheme and all that kind of stuff and we’ll talk about that right now so in this section I kind of want to talk

about the the concept the mood the vibe of this particular shoe so and maybe I’ll also scratch on where I got some of these items as well I got all these items over here that you’re seeing from Marshalls and then I got the flowers from Michaels which is a craft store they have plenty of fake flowers and things of that nature but for me you know my my style is is lots of color it’s very much pop its contrast I do like monochromatic but you know I wanted to do something fun and when it comes to product photography which is something I’ve done by little but I

wanted to do this in collaboration with Savage Universal but I wanted to do this to accentuate it with my personal style which is a lot more color its pop it’s fun and it’s having elements of contrast so you know I you know when I went to Michael’s and Marshalls I looked for things that that emphasized that they had a lot of color I didn’t look for a normal black handbag or or whatever like that and the part of the reason why I’m using the green and then the red flower is to kind of bring in those colors and – as you guys are seeing the images to bring your eye throughout the frame that’s a big part of my personal style so with that I wanted to be fun I wanted to be colorful this is not a moody photo the way that I’m lighting this as well is not moody it’s very it’s very flat and it’s it’s true it’s just uniform it it’s not directional there’s not a lot of

shadows and things of that nature so with that I wanted the color – I guess exemplify that granted I will when I’m editing the images and stuff like that in post I will add a little bit of contrast things of that nature but it will still be a lot of fun and playful kind of theme and this is kind of like a summer kind of set so I wanted to make it summery and fun so that’s kind of the the inspiration this is I guess inspired originally by Vogue they have a couple of really great product shots in their recent issue and I wanted to do something similar but with my own style a lot of the stuff that they do with the product photography is a lot on the moodier side but do a little bit of a spin on my side as well and make it a little bit more fun so I hope that kind of gives you a little bit insight on why I chose the things that I chose for this particular shoot that you guys

are watching today and I hope that it was helpful as well I hope you got some insight on on the the ins and outs of doing this got some more insight on what it takes to do something like this at least with one light it’s not very complicated it’s more so about the concept and making sure that you’re shooting flat on you’re using lighting that exemplifies the product that you’re trying to shoot making sure that you shoot the product in a really good set up that really exemplifies the product that you’re shooting so I hope that was helpful thank you for watching

today’s video I hope you found the contents of today’s video insightful and added value to you if you’re new here please consider subscribing if you haven’t done so already also leave us a like and a comment in the description down below let us know if I overlooked something or I miss something covered in today’s video.

Photo of author

Devaun Lennox

I'm a fashion, beauty, and commercial photographer turned impromptu photojournalist. Based in Las Vegas, my images are graphic, bold, and full-on contrast.